This epic portrait of an inexorable fall from grace, starring the astounding Kinuyo Tanaka as an imperial lady-in-waiting who gradually descends to street prostitution, was the movie that gained the director international attention, ushering in a new golden period for him.

Osaka Elegy established Mizoguchi as one of Japan’s major filmmakers. The director's often-used leading actress Isuzu Yamada stars as Ayako, a switchboard operator trapped in a compromising, ruinous relationship with her boss to help support her wastrel father.

The independent, unsentimental Omocha and her sister, the more tradition-minded Umekichi, are both geishas in the working-class district of Gion. Mizoguchi's film is an uncompromising look at the forces that keep many women at the bottom rung of the social ladder.

For his final film, Mizoguchi brought a lifetime of experience to bear on the heartbreaking tale of a brothel in Tokyo’s red light district, full of women whose dreams are constantly being shattered by the socioeconomic realities surrounding them.

Derived from stories by Akinari Ueda and Guy de Maupassant, Ugetsu, a ghost story like no other, is surely the Japanese director Kenji Mizoguchi's supreme achievement and one of the most beautiful films ever made.

In making a film based on the life of a renowned eighteenth-century painter and woodblock portraitist, the great Japanese filmmaker Kenji Mizoguchi created one of his most autobiographical statements on the artistic process as well as another of his trenchant observations about the place of women in Japanese society.

Filmed on location in Osaka, Women of the Night concerns two sisters—Fusako, a war widow, and Natsuko, having an affair with a narcotics smuggler—who along with their younger friend Kumiko descend into prostitution and moral chaos amid the postwar devastation surrounding them.